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Walk off the Earth

Phillip Phillips comes 'Home' to Legends

Best new music of 2013

What to Watch Before Walk Off the Earth Concert

Despite Gosling, "Gangster Squad" is a Hot Mess

Mother-Son Guilt Trip

Silver Linings Playbook' a rom-com with bite

David O. Russell's "Silver Linings Playbook" follows Pat, recently out of a medical hospital on plea bargain after beating his wife's illicit lover nearly to death. Pat, who had long been undiagnosed for bipolar disorder, is determined to get in shape and get better to get his wife back, who now has a restraining order against him.

Silver Linings Playbook' a rom-com with bite

David O. Russell's "Silver Linings Playbook" follows Pat, recently out of a medical hospital on plea bargain after beating his wife's illicit lover nearly to death. Pat, who had long been undiagnosed for bipolar disorder, is determined to get in shape and get better to get his wife back, who now has a restraining order against him.

A new kind of musical with 'Les Misérables'

When it comes to adapting a musical for the big screen, there's little the director can tweak from the original source. "Les Misérables" is no exception, especially because of its status as one of the most adored musicals of all time. I've been a longtime fan of the play myself, and having the opportunity to see it on the big screen with such an incredible lineup of talent was enough to hook my interest.

Silver Linings Playbook' a rom-com with bite

David O. Russell's "Silver Linings Playbook" follows Pat, recently out of a medical hospital on plea bargain after beating his wife's illicit lover nearly to death. Pat, who had long been undiagnosed for bipolar disorder, is determined to get in shape and get better to get his wife back, who now has a restraining order against him.

Django Unchained' brings back Tarantino

"Django Unchained" paired great writing and directing with even better actors to be one of the biggest movies of the holiday season and on the Oscar shortlist for best picture of the year. Quentin Tarantino is known for his unique, out of the box and often-controversial films, and "Django" is no exception. In the so-called "spaghetti western" Tarantino explores the pre-Civil War South and the attitudes of and towards African Americans.

Golden Globes winners

Golden Globes fashion: best and worst

The award for best host goes to... Fey and Poehler

Tap Dogs' turns tap dance on its head

This past weekend at the Morris Performing Arts Center, "Tap Dogs" grabbed hold of the stage and refused to let go. "Tap Dogs" is a tap dance show - unfortunately not featuring literal dogs - created by Australian dancer and choreographer, Dein Perry. The original cast first performed the show in 1995 at the Sydney Festival in Australia. Different variations of the show, each with a cast of eight male dancers, are now performed in major cities around the world. The company even performed at the 2000 Sydney Olympic ceremonies in an enormous group. Due to the show's unique staging ideas, the Tap Dogs are often recognized within the dance community as having revolutionized the way tap dance is presented to a modern-day audience. Elements such as set design, sound effects, lighting effects and unique uses of these elements - in addition to unique uses of props, all combine to create a fast-paced, otherworldy show. Part movement and part percussion instrument, and 100 percent American in its original form, traditional tap was probably made most famous by a series of classical movie musicals in the 1940's starring Gene Kelly, most notably "Singin' in the Rain" and "An American in Paris." Kelly was known for his energetic and athletic tap style, yet even this Hollywood legend's moves were not as crazy and athletic as those of the Tap Dogs. Like Riverdance, which took the formal, stiff traditions of Irish dance and added so much theatricality - such as more dramatic music, interesting sets, creative lighting and exciting plots; the Tap Dogs take traditional tap dancing and turns it on its head. The show's set at the Morris was absolutely magnificent, on par with the dancing itself as an important part of its total impact. The dancers maneuvered and manipulated the set, which resembled a construction site, between almost every number. Performers used the set in unexpected ways, such as breaking the stage into two jagged pieces and jumping back and forth across them, climbing railings and creating various angles and levels to dance upon. However, the most amazing part of "Tap Dogs," was the ridiculous creativity the dancers brought to the world of tap. Every time I thought I had seen the most unique and cool thing that could be done while wearing tap shoes, they would top it with the next dance. They dribbled basketballs to create a rhythm to dance to - while they were dancing! They placed eight kind of music synthesizers on the stage, each dancing on a different one, to make a wild array of different musical instrument sounds. They used lighting and smoke to achieve cool effects and flashlights to highlight different dancers, effectively filling the stage with a flashing strobe. Other times, they opted for moments of total darkness to force the audience to focus on their sound. At another point in the performance, these "Tap Dogs" poured water into a long tray and danced through the water wearing rain boots, even splashing the audience a few times. It was audience participation with a side order of Sea World. They even hoisted one of the guys upside down, letting him tap on the ceiling. The chemistry among the performers in "Tap Dogs" was great. They were funny, full of personality and it was obvious the entire performance that they were having the time of their lives. Each of the eight dancers brought a different personality and style to the stage. The show had a laid back feel to it, with all of the dancers wearing normal clothing - mostly jeans and T-shirts. The cast worked well with together, always feeding off each other's energies and trying to top each other in their epic dance moves. They each had little quirks, including one dancer who frequently integrated random disco moves into his pieces. The audience easily felt the cast's playfulness, which brought a light-hearted and fun atmosphere to the show. "Tap Dogs" has been around for quite some time, and, after catching it at our own Morris, I'm fairly certain it won't be disappearing from the world's stages anytime soon. Contact Tessa DeMers at tdemers@nd.edu

Ke$ha still awesome party girl on 'Warrior'

A disclaimer: I love all things kitsch. In fact, the tackier, the better. Perhaps it should come as no surprise I had incredibly high hopes for the newest album from the queen of trash herself, Ke$ha, she of the dollar-signed name. Back when I was a wee little first-semester freshman, I came across a Facebook advertisement for some unknown singer who just released the single "TikTok." As a Britney Spears fan, I was apparently supposed to be drawn to this song due to its infectious, electro-driven beat and a certain degree of irreverence that seemingly only 20-something female pop singers can deliver. I clicked the link to listen to the song. Boy, was I not prepared for what I was about to listen to. From the infamous opening line - "Wake up in the morning feeling like P. Diddy" - to the heavy beat, to the exceedingly sassy lyrics about Ke$ha's over-the-top lifestyle (namely, brushing her teeth with a bottle of Jack Daniels), this girl was apparently a force to be reckoned with. For my entire first year at Notre Dame, it wasn't officially a party until "TikTok" had been played at least once. Luckily for us, Ke$ha was not a one-hit wonder. With such hits as "We R Who We R" and "Your Love is My Drug," it was easy to see the blonde-haired pop vixen knew how to craft the ultimate party jams. With song titles like "Blah Blah Blah" and "Take It Off," we knew she wasn't going for critical prestige. But boy, does Ke$ha know how to get down. If she were a Greek goddess, she would be the female Dionysus, someone devoted to festivities and general merriment. And I love her for that. With the release of "Warrior," her sophomore album, it is clear to see Ke$ha hasn't lost her dirty magic. The lead single "Die Young" is the de facto party anthem of the fall, thankfully surpassing "Gangnam Style" and "We Are Never Ever Getting Back Together." Just like most of her other songs, it encourages lewd behavior, dancing, drinking and general debauchery. And that's not necessarily a bad thing. What is so refreshing about Ke$ha is her uninhibited honesty. She drinks. She parties. She loves guys (big, hairy guys especially). She makes no bones about the fact that she likes having fun. And that is so different from other female pop stars out there. Take Taylor Swift, who also released a new album this fall. Taylor too sings honestly and from the heart. Unfortunately, the emotions she wants to share with the world are bitter, catty and immature. On the other hand, Ke$ha is the type of girl who lets her hair down and doesn't let anyone's opinion of her get in her way of her pursuit of having a crazy fun time. Tell me, which girl's music would you rather listen to? For that matter, which girl would you rather hang out with in real life? I thought so. That isn't to say Ke$ha is all style, no substance. She brought in Wayne Coyne of The Flaming Lips to help produce several tracks, and Iggy Pop lends some vocals on "Dirty Love." But face it, if you're listening to Ke$ha you're probably at a dorm party or on the dance floor at Fever. Thankfully, "Warrior" delivers a slew of party-ready hits. The second single off the album "C'Mon" starts off with what sounds like a choir of angels and segues into Ke$ha's signature rap-singing hybrid. Featuring such lyrics as "Feeling like a saber tooth tiger / Sipping on warm Budweiser" and "Feeling like a high schooler / Sipping on warm wine cooler" it is hard to not dance, or chuckle for that matter. Other standouts on "Warrior" include "Gold Trans Am," "Crazy Kids" and "Out Alive." All feature thundering beats, catchy lyrics and impressive hooks. Ke$ha is good at what she does and she knows it. She even delves into more "serious" subject material on "Supernatural" which details a paranormal sexual experience she had. At this point, that type of behavior does not even surprise me. My one bone to pick is when Ke$ha slows things down on tracks like "Wonderland." The song isn't bad, per se. Rather, when I listen to Ke$ha it's not because I am feeling moody or introspective. It's because I want to party. Luckily, these types of tracks are few and far between on "Warrior." Face it. Ke$ha is the awesome party girl you may never have the guts to ask out. No matter. On "Warrior," she is here for us all, the goddess of trash, debauchery and fun. Contact Sam Stryker at sstryke1@nd.edu 

Know Thy Shelf

My dad said this to me over the phone as I sat alone in the library, the only one studying on a Football Saturday. At that moment, my story didn't look all that exciting. The novelty of new classes and new people had worn off, and I was even getting used to having an undefeated football team. Two years done at Notre Dame, I looked back on those semesters and all the adventures I had. Appalachia, Notre Dame Encounter, classes with amazing professors, nights spent watching random movies, spring break in Florida, spring break in Chicago. "College is going to be the best four years of your life," people say. Well, I hope not, because that means I'm over half way done with my quota, and when that's done, what am I supposed to do? Spend the rest of my life reminiscing? And that's what it sounded like to me when my dad said, "Keep writing your own story." Writing your story sounded like reflecting and remembering on the good times, while staying holed up in my one-room apartment trying to type my way from reality. The thing is, I always wanted to be a writer. The intoxicating, time-stopping disembodiment I experienced when I wrote was the closest thing to transcendence I ever achieved. And it's not until after an article is finished that I realize my words achieved that same coherent, fluid authority of wordsmiths, novelists and journalists. Those people craft performative, compelling statements without having to say aloud what has already been implied, "I write, therefore I am." For me, it has always been, "I am, therefore, I write." It is the natural response to experience. Even if I go months without so much as a drop of creative impetus, when I see a striking tree loosing its winged leaves into the autumn air or when I lay back on the docks in Maine to question the stars, the floodgates open. I lose myself in a train of thought that collects treasure from around the pockets and veins of gold lodged deep inside somewhere. Automatically, rhythmically, I reach for my pen, and dig around for the right sentence. I have to find it - that word, that thought. This will be my last column on campus this school year. On Jan. 9 I'll join a flock of other Notre Dame students as we take London by storm. It will be my first time in Europe, and I plan on seeing buildings and art museums and gardens and markets until my eyes pop out. I'm going to walk until my shoes fall apart and take pictures until Facebook revokes my rights to post photos. I am going to enjoy every last second of next semester. "Study abroad is going to be the best semester of your college experience," people say. Well, I hope not, because senior year and the years after that still hold possibility. And I realize now I can take my dad's advice a different way. "Keep writing your own story." That doesn't mean my story is over. Storytelling is performative. The way I write is the way I live. To quote that sage, Natasha Bedingfield, "Today is where your book begins, the rest is still unwritten." Contact Meghan Thomassen at mthomass@nd.edu. The views expressed in this column are those of the author and not necessarily those of The Observer.  

A Very Indie Christmas Playlist

"Baby It's Cold Outside" - She & Him

Why 'Die Hard' is the best Christmas movie of all time

Why 'Die Hard' is the greatest Christmas movie of all time